I was working with an exceptional violinist the other day and discovered that she didn't know this important but little known fact of the bow. This is how the conversation went. I said to her...
What is the line or direction of the pull on the down bow?
Quickly we deduced that it is to the right and horizontal.
Then I asked her what is the direction of pressure?
After considering it for a moment it was discovered to be vertical or downward. Then we proceeded to the up bow.
Continue ReadingMiming is one of the great secrets of learning to have a natural technique.
The idea is really simple...
While holding the instrument you sing a passage while miming the movements of the left hand and bow arm. Feel the motions of the miming and then imitate those motions when you play normally. Repeat this exercise until your technique feels the same as the miming.
Continue ReadingYou can have great intonation!
It is possible to solve most intonation problems.
The most important factor is how much you care.
If you have a serious commitment then most problems can be overcome.
The two causes of bad intonation are...
Continue ReadingWhat could be more powerful than this? Kreisler's playing is an unrelenting embrace of Bach's musical passion. Kreisler vibrates the very molecules of the violin and offers them at the feet of the music gods in this Divinely inspired performance! If you want to learn how to play Bach cello suites or violin partitas, have a listen.
Continue ReadingHi String Lovers...
Here's a present for your stocking.
To find a natural bow grip in 10 seconds or less...
Continue ReadingThe Dounis “Science of String Playing” is all about being loose and gaining confidence to play even the most technically demanding works.
Recently, I read a post on violinist.com which touched on the stresses of different playing situations. I thought I would share the Dounis cure for “stage fright”.
Dounis said the cause of performance anxiety is negative thoughts, usually about yourself. So he gave the following formula.
Continue ReadingHow does this relate to cello playing?
Regarding the natural physiological laws of string playing, Dounis said…
“The body is more important than the instrument.The instrument is an extension of the body.”
Dounis would conform the instrument to natural bodily motions. He made the cello fit you.This is how you make your playing completely natural.
Continue ReadingContinue Reading
The reason Dounis can awaken your cello genius is because he can show you the root cause of your cello problems and how to solve them.
To solve a problem you must know the cause...
Would a doctor prescribe a medicine for a patient without first diagnosing the illness? Of course not.
So what is the cause of your cello problems?
The answer is simple...the basics.
Continue ReadingThe foundation of the Dounis method was reawakening your native instincts. He had remedial exercises for restoring those instincts and allowing the natural player to emerge...just like a prodigy.
Usually the first question is...
Can I play the cello like a child prodigy?
Yes, once your native instincts are reestablished, then the instrument becomes an extension of your body and not the other way around. Then you become a natural player, just like a prodigy.
Continue ReadingDounis encouraged his students to discover their own sound. A sound with personality and depth. A sound that is immediately identifiable as the performer and as unique as a fingerprint.
A Cellist’s Guide To A World Class Sound
To achieve a world class sound you must master the following 10 fundamentals:
Continue ReadingThe basics are the foundation of playing. Examples are: holding the bow, holding the cello, drawing the bow, changing bows, touching the string, crossing strings, shifting, vibrato, pulling the sound, applying pressure and so on.
What is required to learn the basics?
It is a process of reawakening your native instincts on the cello.
Continue ReadingThe wonderful cellist of 30+ years with the Saint Paul Chamber Orchestra, Joshua Koestenbaum reveals a trick he learned from a bio feedback expert while at Yale University...
“The Sizzle”
Dounis referred to the impulse which starts the vibrato as the “sizzle.” He gave the example of touching a hot surface, like a frying pan. He also said “the sizzle” was the spark plug that ignited the vibrato. This is a single impulse similar to a guitarist who plucks his string in to emulate a legato. He must give the impulse enough force or pluck it hard enough to carry the sound to the next note. The vibrato is the same. The initial “shake” has to be enough to carry it through the note.
Therefore, if a player learns how to isolate this initial shake, then he or she can begin to understand how the vibrato and the left hand technique works altogether...
For years, the vibrato has long been thought of primarily as a means of adding expression to melodic passages. An “add on.” Teachers have emphasized this point which has resulted in a primary misconception.
Vibrato is more than a way to add expression to particular notes.
Vibrato is the basis of left hand technique...
The following interview was published in the book "With The Artists" in 1955. To my knowledge it is the only documented interview with Dounis ever made and probably occurred in the early 1950s in New York City.
These days the assumption warming up prevents injury seems to be a commonly accepted truth.
So why would Dounis, a master teacher, a medical doctor, a man with a reputation for successfully fixing physical problems recommend playing first thing in the morning without warming up?
What are "Displaced Impulses?"
These are impulses that end up in the wrong part of body when a player is struggling with a passage technically and work contrary to the natural movements of the body. A classic example is someone bobbing their head when playing a difficult passage. Of course it can be any part of the body, but always prevents the natural motion needed to play a passage.
The Cure...
Dounis always told his students to always imagine they were playing on a string 1/2 an inch above the real string.
To understand what he meant, do this exercise...
Dounis said that most string players "don't realize that the technique of Up Bow is very different than the Down Bow."
So... What's the difference?
Here's a breakdown...
It is debatable whether knowing about Bach's use of numbers and musical affections teaches us better how to play Bach cello suites, but it can't hurt. Bach is known to have used Numerology and the Doctrine of Affectations as a way to personalize his music and express his devotion to God.
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D.C. Dounis described several key points about performing the Bach cello suites or solo violin partitas. To understand his ideas let's us look at the following observations...